The first group scheduled event for Spanish Language Lit Month is to post on the film Cría Cuervos*. This is an off-kilter and beautiful film starring an adolescent Ana Torrent. The title translates as Raise Ravens, which refers to a Spanish proverb – “Cría cuervos y te sacarán los ojos.” (Raise ravens, and they’ll pluck out your eyes). Set in Madrid, during the final days of Franco’s Spain, it tells the story of one dysfunctional family from the perspective of the middle daughter, Ana.

The film opens with Ana finding her father’s dead body in bed, as his lover flees the house. Her mother has only recently died of cancer – after suffering both physically from the disease and emotionally due to her husband’s infidelities. Ana blames her father, played by Héctor Alterio, for her mother’s pain and has mixed a powder she believes is poison into his milk. Now orphaned, an aunt & grandmother arrive to look after Ana & her two sisters. The earthy housekeeper, who acted as nurse to Ana’s mother, completes the household.

Cría Cuervos is billed as a “psychological drama”. In the 70’s that must mean minimal dialogue; an indordinate amount of time spent focused on the Torrent’s huge, haunting eyes and abrupt switches mid-scene between reality and Ana’s memories. Snarkiness aside, those are kinda’ the things I loved about it. The main plot line is deceptively simple. The girls have no real concept of what death is. But Saura brilliantly shows how they have absorbed and processed the events taking place around them. In one scene they dress up and amidst much giggling, re-enact a scene they must have witnessed of their parents fighting. In another Ana offers to assist her disabled grandmother die by giving her some of the same “poison” she gave to her father. In a final scene the eldest daughter sums up the feelings of uncertainty, fear and confusion all three are experiencing when she tells Ana of a nightmare from the previous night as casually as if it had no relationship to her real life.

More complicated is what the director is attempting to say about Franco’s regime and its legacy to the people of Spain. Ana’s father, we learn, fought beside the Nazis in Germany. There is a sense of decaying luxury within the walls of the family’s Madrid home (where almost all the scenes take place). The swimming pool is empty and neglected. We’re told repeatedly that the house is in disarray. There is Ana’s casual approach to death, which is partly due to her 9-year-old lack of understanding but also serves as a commentary on the atmosphere in which she was raised. She feels no remorse or guilt, despite believing she killed her father. And her older self, who appears sporadically throughout the film to attempt to explain the actions of the younger Ana, no longer seems to have a connection to or understanding of the psyche of the child she once was. What will become of this post-Franco generation, is the question Carlos Saura seems to be posing, who have grown up in strange times with only their parents as examples?

Visually, Cría Cuervos is beautiful – and the remastered Criterion Collection edition I watched was vibrant and crisp. The film’s color palette and the slight awkwardness to the actors’ performances reminded me of a Wes Anderson film. As did the song “¿Por qué te vas?” (Why are you leaving?) which was played repeatedly throughout. One review I read pointed out that in the film Ana’s mother, played by Geraldine Chaplin (who also played the adult Ana), speaks Spanish with an English accent – as does the singer. The adult Ana speaks with a “pure” Spanish accent. The reviewer put forward that the reason Ana repeatedly plays the record is because the singer reminds her of her mother’s voice. Which, to my mind, makes perfect sense. Cría Cuervos is full of small, subtle touches like that.

My final review? I enjoyed the film much more than I expected to (I’m not really a fan of 70’s cinema). So much so that I’ve already added El espíritu de la colmena(The Spirit of the Beehive) – an earlier Saura/Torrent collaboration) to my Netflix queue. It was, overall, a wonderful way to begin Spanish Language Lit Month.

*I’ve posted my review early because I’m a dope who’s never been good at reading directions. You should definitely check out Winstonsdad’s Blog and Caravana de recuerdos this weekend for links to everyone else’s brilliant (and on time) opinions of the film.

So glad that you enjoyed this, Tara, and that you’ve chosen to participate in Spanish Lit Month. I never thought about the potential accent-based connection between the mother and the singer before, but that’s an interesting idea. Also, I look forward to hopefully hearing what you think about Víctor Erice’s The Spirit of the Beehive at some point. For me, it’s not quite as powerful as the Saura film (no slight intended to Erice’s work) but it’s more impressive visually and a superb film. Anyway, nice to meet you and your blog–will add your link to the list this weekend whenever I get around to posting on Cría cuervos myself. Cheers!

Thank you, Richard, for co-hosting Spanish Lit Month and stopping by! I feel I should clarify that I didn’t make that connection – it was pointed out in another review I read (I should have linked it, but forgot where it was!). My Spanish is in no way strong enough that I can claim to be able to identify accents! 🙂